This collection of essays provides a critique of the popular and powerful genre of confessional writing. Contributors discuss a range of poetry, prose and drama, including the work of John Berryman, Anne Sexton, Ted Hughes and Helen Fielding.
Confessional poetry as a genre was first characterized by the critic M. L. Rosenthal in 1959. It has become a potent force, and its practitioners the poetic voices of our time. The poetry is highly subjective, written with frankness and lack of restraint, and focuses on the ugliness of life. Its leading practitioners, Robert Lowell, Anne Sexton, W. D. Snodgrass, and John Berryman, have all been recipients of the highest awards in literature, including the Pulitzer Prize and the National Book Award for Poetry. Robert Phillips, a critic and also a poet, here directs our attention to the genre in the first book on the subject. In addition to the poets noted above, he discusses the work of Theodore Roethke, Sylvia Plath, Stanley Kunitz, Delmore Schwartz, and Allen Ginsberg. Especially valuable are the author's definition and historical review of the genre and his use of interviews and personal comments. An appraisal of the genre, his book is also a guide to new avenues open to poets writing today.
"The Art of Confession tells the history of this cultural shift and of the movement it created in American art: confessionalism. Like realism or romanticism, confessionalism began in one art form, but soon pervaded them all: poetry and comedy in the 1950s and '60s, performance art in the '70s, theater in the '80s, television in the '90s, and online video and social media in the 2000s. Everywhere confessionalism went, it stood against autobiography, the art of the closed book. Instead of just publishing, these artists performed--with, around, and against the text of their lives." --
<I>Robert Lowell and the Confessional Voice returns to the poet's early works, such as <I>Land of Unlikeness and <I>Lord Weary's Castle, in search of a relationship between Lowell's early poetry and his turn to a confessional style of writing in the 1950s. Lowell's early poetry is often overshadowed by the emergence of his confessional poetry (that develops in <I>Life Studies; however, instead of Lowell's early poetry being eclipsed by <I>Life Studies, a remembrance of his early poetry is necessary as a way of understanding Lowell's evolution as a poet. The early poetry provides readers and scholars of Lowell with a Puritan paradigm and the ethos of an American narrative that Lowell never fully abandons but only perpetually deconstructs.
Robert Lowell, with Elizabeth Bishop, stands apart as the greatest American poet of the latter half of the twentieth century—and Life Studies and For the Union Dead stand as among his most important volumes. In Life Studies, which was first published in 1959, Lowell moved away from the formality of his earlier poems and started writing in a more confessional vein. The title poem of For the Union Dead concerns the death of the Civil War hero (and Lowell ancestor) Robert Gould Shaw, but it also largely centers on the contrast between Boston's idealistic past and its debased present at the time of its writing, in the early 1960's. Throughout, Lowell addresses contemporaneous subjects in a voice and style that themselves push beyond the accepted forms and constraints of the time.
Confessional Crises and Cultural Politics in Twentieth-Century America revolutionizes how we think about confession and its ubiquitous place in American culture. It argues that the sheer act of labeling a text a confession has become one of the most powerful, and most overlooked, forms of intervening in American cultural politics. In the twentieth century alone, the genre of confession has profoundly shaped (and been shaped by) six of America’s most intractable cultural issues: sexuality, class, race, violence, religion, and democracy.
The premise of Confessional Politics is that in this confessional age, "telling all is in." From a unique variety of perspectives and angles, the essays in this collection explore the association of confession with femininity; they examine its function as a gender-specific discourse as they probe its many feminized genres and subgenres. Confessional Politics investigates the creative and strategic ways in which women shape the telling of their sexual stories in order to resist and negotiate the confessional practices designed to position them in conventional sexual frameworks. Investigating the confessional politics of traditional forms of social life writing (including erotic diaries, journals, letters, and confessional fiction), this book significantly expands its focus beyond conventional forms to include practices affecting mass readerships and audiences. The collection addresses provocative general topics: talk shows, sexual harassment, sexual abuse, sexuality, self-help books, and cross-dressing, as well as expressive works such as contemporary Canadian women's poetry, lesbian fiction, performance art, Anne Frank's recently released complete diary, and memoirs.
Given the amount of scholarship on twentieth-century poetry, there has been remarkably little published about Anne Sexton, even though her work is considered to be as important as that of such contemporaries as Sylvia Plath and W. H. Auden. By offering new and provocative readings of her entire oeuvre, Jo Gill provides a long overdue critical appreciation of Anne Sexton and presents a radical rethinking of the confessional mode of poetry and a recuperation of Sexton's place in it. Gill makes substantial use of Sexton's archive of unpublished diaries, drafts, correspondence, lectures, interviews, stage readings, and book annotations, as well as a little-known television documentary on Sexton. She also uses techniques that have not been previously applied to Sexton's poetry to increase our understanding of the poet's life and work. Employing new--principally poststructuralist--literary theories and critical practices, Gill offers new readings of Sexton's complex and ambitious poems. She discusses the diversity and richness of Sexton's writing across her career, shows the relevance of the often-ignored later poems, and places Sexton's work in its specific historical, political, and ideological contexts.
"One of the most promising young poet-critics in America" (Los Angeles Times) examines a revolutionary generation of poets. Robert Lowell, Elizabeth Bishop, Sylvia Plath, John Berryman, Randall Jarrell, and Delmore Schwartz formed one of the great constellations of talent in American literature. In the decades after World War II, they changed American poetry forever by putting themselves at risk in their poems in a new and provocative way. Their daring work helped to inspire the popular style of poetry now known as "confessional." But partly as a result of their openness, they have become better known for their tumultuous lives—afflicted by mental illness, alcoholism, and suicide—than for their work. This book reclaims their achievement by offering critical "biographies of the poetry"—tracing the development of each poet's work, exploring their major themes and techniques, and examining how they transformed life into art. An ideal introduction for readers coming to these major American poets for the first time, it will also help veteran readers to appreciate their work in a new light.